Forty eight projects have been chosen for the online edition,
Projects on climate change movement Extinction Rebellion and the Saudi Arabia women’s football team are among those selected for Sheffield Doc/Fest’s 2020 online marketplace MeetMarket.
The documentary market will take place via virtual video-conferencing from June 8-10 June, with the Alternate Realities Talent Market running on the same dates.
Among the 48 projects from 500 applications selected for the MeetMarket is Xr Beyond The Emergency from the UK. Directed by Maia Kenworthy and Elena Sánchez Bellot and produced by Katrina Mansoor, it centres on the ordinary people who are devoting...
Projects on climate change movement Extinction Rebellion and the Saudi Arabia women’s football team are among those selected for Sheffield Doc/Fest’s 2020 online marketplace MeetMarket.
The documentary market will take place via virtual video-conferencing from June 8-10 June, with the Alternate Realities Talent Market running on the same dates.
Among the 48 projects from 500 applications selected for the MeetMarket is Xr Beyond The Emergency from the UK. Directed by Maia Kenworthy and Elena Sánchez Bellot and produced by Katrina Mansoor, it centres on the ordinary people who are devoting...
- 4/14/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
The projects have received between £10,000 - £80,000.
The BFI has increased its funding commitment to the BFI Doc Society Fund to £1.776m for a period of 18 months.
The organisation had earlier this year committed to injecting £1m annually into the newly-formed fund, which has taken over all of the BFI’s production funding activities for documentaries.
A total of £650,000 of that amount was ring-fenced for production grants, with the remaining £350,000 set aside for initiatives including four regional outreach events a year, an edit lab, staff costs and further events.
That amount has now increased to £1.776m to cover a period of 18 months.
The BFI has increased its funding commitment to the BFI Doc Society Fund to £1.776m for a period of 18 months.
The organisation had earlier this year committed to injecting £1m annually into the newly-formed fund, which has taken over all of the BFI’s production funding activities for documentaries.
A total of £650,000 of that amount was ring-fenced for production grants, with the remaining £350,000 set aside for initiatives including four regional outreach events a year, an edit lab, staff costs and further events.
That amount has now increased to £1.776m to cover a period of 18 months.
- 11/23/2018
- by Geoffrey Macnab
- ScreenDaily
The projects have received between £10,000 - £80,000.
The BFI has increased its funding commitment to the BFI Doc Society Fund by 50% from an annual £1m to £1.5m per year.
The organisation had earlier this year committed to injecting £1m annually into the newly-formed fund, which has taken over all of the BFI’s production funding activities for documentaries.
A total of £650,000 of that amount was ring-fenced for production grants, with the remaining £350,000 set aside for initiatives including four regional outreach events a year, an edit lab, staff costs and further events.
That amount has now increased to £1.776m to cover a period of 15 months,...
The BFI has increased its funding commitment to the BFI Doc Society Fund by 50% from an annual £1m to £1.5m per year.
The organisation had earlier this year committed to injecting £1m annually into the newly-formed fund, which has taken over all of the BFI’s production funding activities for documentaries.
A total of £650,000 of that amount was ring-fenced for production grants, with the remaining £350,000 set aside for initiatives including four regional outreach events a year, an edit lab, staff costs and further events.
That amount has now increased to £1.776m to cover a period of 15 months,...
- 11/23/2018
- by Geoffrey Macnab
- ScreenDaily
Steve Smith replaces Beryl Richards on UK organisation’s board.
Directors UK, the professional association for British screen directors, has appointed Steve Smith as the new chair of its board.
Smith replaces the outgoing Beryl Richards, who is stepping down after two and a half years in the post.
He steps up from the role of vice chair, which he has been in for two years.
Smith is a director whose career in television has included stints on The Graham Norton Show on the BBC, as well as The New Paul O’Grady Show and Da Ali G Show.
Richards is departing after reaching the maximum term length of six years on the board.
During her tenure, she spearheaded campaigns on issues such as gender, diversity, pay, copyright and on the importance of training and career development for directors.
Andrew Chowns, Directors UK’s chief executive commented: “I would like to thank Beryl for all her work...
Directors UK, the professional association for British screen directors, has appointed Steve Smith as the new chair of its board.
Smith replaces the outgoing Beryl Richards, who is stepping down after two and a half years in the post.
He steps up from the role of vice chair, which he has been in for two years.
Smith is a director whose career in television has included stints on The Graham Norton Show on the BBC, as well as The New Paul O’Grady Show and Da Ali G Show.
Richards is departing after reaching the maximum term length of six years on the board.
During her tenure, she spearheaded campaigns on issues such as gender, diversity, pay, copyright and on the importance of training and career development for directors.
Andrew Chowns, Directors UK’s chief executive commented: “I would like to thank Beryl for all her work...
- 4/28/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Beryl Vertue, Amanda Nevill and Nina Gold were among winners at the annual London event.
Hartswood Films founder and Sherlock executive producer Beryl Vertue, Cbe, has won the Eon Lifetime Achievement Award at the 26th annual Women In Film & TV awards in London.
Vertue’s career has spanned almost 50 years during which time she has worked on shows including Up Pompeii, Steptoe and Son, Men Behaving Badly and Coupling as well as recent BBC hit Sherlock. She was presented with the award by the show’s star Benedict Cumberbatch.
Cumberbatch said: “It is an absolute honour to be able to present The Eon Lifetime Achievement Award to the wonderful Beryl Vertue. We have known each other a long time and not only have I had the pleasure of working with her but I’m very lucky to know her and call such a brilliant woman, my friend.”
Casting director Nina Gold, actress [link=nm...
Hartswood Films founder and Sherlock executive producer Beryl Vertue, Cbe, has won the Eon Lifetime Achievement Award at the 26th annual Women In Film & TV awards in London.
Vertue’s career has spanned almost 50 years during which time she has worked on shows including Up Pompeii, Steptoe and Son, Men Behaving Badly and Coupling as well as recent BBC hit Sherlock. She was presented with the award by the show’s star Benedict Cumberbatch.
Cumberbatch said: “It is an absolute honour to be able to present The Eon Lifetime Achievement Award to the wonderful Beryl Vertue. We have known each other a long time and not only have I had the pleasure of working with her but I’m very lucky to know her and call such a brilliant woman, my friend.”
Casting director Nina Gold, actress [link=nm...
- 12/2/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Beryl Vertue, Amanda Nevill and Nina Gold were among winners at the annual London event.
Hartswood Films founder and Sherlock executive producer Beryl Vertue, Cbe, has won the Eon Lifetime Achievement Award at the 26th annual Women In Film & TV awards in London.
Vertue’s career has spanned almost 50 years during which time she has worked on shows including Up Pompeii, Steptoe and Son, Men Behaving Badly and Coupling as well as recent BBC hit Sherlock. She was presented with the award by the show’s star Benedict Cumberbatch.
Cumberbatch said: “It is an absolute honour to be able to present The Eon Lifetime Achievement Award to the wonderful Beryl Vertue. We have known each other a long time and not only have I had the pleasure of working with her but I’m very lucky to know her and call such a brilliant woman, my friend.”
Casting director Nina Gold, actress [link=nm...
Hartswood Films founder and Sherlock executive producer Beryl Vertue, Cbe, has won the Eon Lifetime Achievement Award at the 26th annual Women In Film & TV awards in London.
Vertue’s career has spanned almost 50 years during which time she has worked on shows including Up Pompeii, Steptoe and Son, Men Behaving Badly and Coupling as well as recent BBC hit Sherlock. She was presented with the award by the show’s star Benedict Cumberbatch.
Cumberbatch said: “It is an absolute honour to be able to present The Eon Lifetime Achievement Award to the wonderful Beryl Vertue. We have known each other a long time and not only have I had the pleasure of working with her but I’m very lucky to know her and call such a brilliant woman, my friend.”
Casting director Nina Gold, actress [link=nm...
- 12/2/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Beryl Vertue, Amanda Nevill and Nina Gold were among winners at the annual London event.
Hartswood Films founder and Sherlock executive producer Beryl Vertue, Cbe, has won the Eon Lifetime Achievement Award at the 26th annual Women In Film & TV awards in London.
Vertue’s career has spanned almost 50 years during which time she has worked on shows including Up Pompeii, Steptoe and Son, Men Behaving Badly and Coupling as well as recent BBC hit Sherlock. She was presented with the award by the show’s star Benedict Cumberbatch.
Cumberbatch said: “It is an absolute honour to be able to present The Eon Lifetime Achievement Award to the wonderful Beryl Vertue. We have known each other a long time and not only have I had the pleasure of working with her but I’m very lucky to know her and call such a brilliant woman, my friend.”
Casting director Nina Gold, actress [link=nm...
Hartswood Films founder and Sherlock executive producer Beryl Vertue, Cbe, has won the Eon Lifetime Achievement Award at the 26th annual Women In Film & TV awards in London.
Vertue’s career has spanned almost 50 years during which time she has worked on shows including Up Pompeii, Steptoe and Son, Men Behaving Badly and Coupling as well as recent BBC hit Sherlock. She was presented with the award by the show’s star Benedict Cumberbatch.
Cumberbatch said: “It is an absolute honour to be able to present The Eon Lifetime Achievement Award to the wonderful Beryl Vertue. We have known each other a long time and not only have I had the pleasure of working with her but I’m very lucky to know her and call such a brilliant woman, my friend.”
Casting director Nina Gold, actress [link=nm...
- 12/2/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Directors UK report concludes that there is “unconscious, systemic bias” towards male directors in UK.
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
- 5/3/2016
- ScreenDaily
Exclusive: Directors UK report concludes that there is “unconscious, systemic bias” towards male directors in UK.
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
- 5/3/2016
- ScreenDaily
The Secret Life Of Boys is a brand new interactive comedy drama which launches on the Cbbc website and Cbbc channel this November.
In the series 11 year old Ginger flies from Australia to the UK to spend the summer with four cousins she's never met before - how will she manage in a foreign country, with a new family?
Melbourne-based Erica Brown (represented by Gilchrist Managment in Australia) flew to Ireland to film the lead role of Ginger Boxwell, marking her TV drama debut.
Her cousins are played by 19 year old Neil Reynolds, who has previously appeared in comedy series The T-Boy Show.
15 year old Reece Buttery (represented by A&J Management), who starred in BBC Christmas drama Gangsta Granny, and plays Mo in Cbbc's The Dumping Ground, plays Robbie.
12 year old Gene Gurie (represented by The Young Actors Theatre) plays Ethan in his first TV role.
And Joel Guy...
In the series 11 year old Ginger flies from Australia to the UK to spend the summer with four cousins she's never met before - how will she manage in a foreign country, with a new family?
Melbourne-based Erica Brown (represented by Gilchrist Managment in Australia) flew to Ireland to film the lead role of Ginger Boxwell, marking her TV drama debut.
Her cousins are played by 19 year old Neil Reynolds, who has previously appeared in comedy series The T-Boy Show.
15 year old Reece Buttery (represented by A&J Management), who starred in BBC Christmas drama Gangsta Granny, and plays Mo in Cbbc's The Dumping Ground, plays Robbie.
12 year old Gene Gurie (represented by The Young Actors Theatre) plays Ethan in his first TV role.
And Joel Guy...
- 10/16/2015
- by noreply@blogger.com (ScreenTerrier)
- ScreenTerrier
Dortmund Film Festival’s annual symposium about women in the film industry’s entitled "Get NetWorked Up" was a successful and inspiring meeting. Some of the information can be found on their website, in German and English. Please feel free to spread the info as well as the video Women Make Great Films.
Just three of the 23 films at this year's Berlinale Competition were made by women film directors, that's 13%.
Speaking in his opening address at the "Get NetWorked Up" event on 12 February 2015, Dr Ralf Kleindiek, State Secretary at the Federal Ministry for Family Affairs, Senior Citizens, Women and Youth – was not alone in emphasizing how outrageously low that statistic is. About 200 women filmmakers, producers and networkers attended the symposium, a joint venture of the Dortmund | Cologne International Women's Film Festival and the New York Athena Film Festival founded by Indiewire’s own Melissa Silverstein. Amma Asante, maker of the beautiful film “Belle” also spoke. See Women in Hollywood’s interview .
In her welcome speech, Silke J. Räbiger, Director of the Dortmund | Cologne Women's Film Festival, pointed out that commitment to gender equality has been articulated since the 1980s. Currently, the main concern of network members is to learn from one another how to pull together as well as to discuss actual steps as to how the objectives can best be achieved. What the networks, associations and initiatives all have in common, she added, was a strong desire not to stand by and simply watch contracts, money, reputation and careers leave women behind.
Anna Serner , CEO of the Swedish Film Institute, reported on the equality contract introduced in 2012, considered now by many countries to be a model worth emulating. Thanks to the Film Agreement between government, parliament, film producers and television broadcasters, 50% of any film promotion budget must, by the end of 2015, be awarded to women in the fields of direction, screenplay or production. Preliminary results are positive, as the figures testify. However, they also indicate that this development still requires much effort. She also emphasized that any declaration of the will to change must come from the top: "It's essential that the head of organization shows that everyone involved really wants to make this come true."
Women make great films The women film-makers who gave statements for the video “Women Make Great Films” also described their anger and frequent experiences of discrimination. It was film-director Jasmila Žbanić who initiated and prepared the video (designed as a work-in-progress) for the event. In the polemic words of film-director Jennifer Reeder: "I am a film-maker and I have a vagina. This is a big problem for a lot of people in the film industry." The desire for change and a strong community is clearer than ever and there is no doubting the fact that "women make great films."
"Women making film is a radical act". With this quote from film-director Ava DuVernay (“Selma”), the symposium chair Melissa Silverstein (Athena Film Festival / Women and Hollywood) then opened the discussion to the various representatives from international women's film networks.
Writer and film-director Esther Gronenborn, representing Pro Quota Film Direction, was first off. This association, which now consists of more than 250 German women film directors, is committed to the eponymous quota – i.e. to an equal share of film funding. Everyone was shocked by the statistics recently published by The German Federal Association of Film & TV Directors, Ms Gronenborn explained. Yet even though producers, TV managers and film promoters in Germany are all very understanding, they invariably pass responsibility on to each other – in a vicious circle. A media state contract with an equality clause and government support as in Sweden is the stated goal of Pro Quota Film Direction.
Kate Brown from Ewa – European Women Audiovisual Network compared the film business with the Rocky Mountains. While men pave the way with all the appropriate gear, women are equipped with high heels and bags full of stones. So if diversity is to be ensured, policies aimed at true equality between women and men in all positions across the industry are long overdue. Ewa provides such professional development opportunities in the form of workshops and online courses for its members. An even wider reach via networking is currently a main aim.
Film-director Beryl Richards, Vice Chair at Directors UK – an association with over 5,000 film-director members – explained the situation in Britain. There too, there is an alarming gender imbalance in the film and television world, not to mention the stereotyped roles affecting both men and women. Figures supplied by an equality campaign for film and TV revealed that women are represented in the independent sector by only 18 per cent … and then only in the low-budget range.
Tamara Dawit was on hand to represent Film Fatales, a new network for women film directors in the Us. Regular meetings provide contact partners to discuss issues with and/or share information with like-minded people.
Get out of the isolation!
All in all, the feeling of togetherness evinced was also tangible in the subsequent discussions between panel and audience: Together, an awareness of the problem has been created. Together, pressure can be exerted on the pressure on the institutions responsible. "Free the spirits," as Melissa Silverstein aptly put it. New structures in which women find role models are needed, which is precisely what networks such as Film Fatales, Ewa and Pro Quota are all about: women film-makers sharing their knowledge and experience, working together and supporting each other. And last but not least, more women must become active in the crucial institutions.
Let's dream a little
There is perhaps still a lack of confidence in the visions and stories as narrated by women. Stories important enough to be told and reflect a facet of society. Change will only happen if women filmmakers have the chance to get the same financial support as their male colleagues. Change will only happen when those responsible recognize that women's work is lucrative and if the government intervenes with legislation. The goal must be a 50% quota in TV and film. "How crazy is this: a dream to be equal", asked Melissa Silverstein. Which is why it is important that women also be trained in business matters. When vital resources are at stake, "you need 95% business and 5% art in order to succeed", said Tamara Dawit.
Amma Asante was the last speaker. The BAFTA award-winning screenwriter and director (“Belle”) spoke impressively of her career, of the obstacles that she repeatedly came up against as a dark-skinned woman and her fight for the greater visibility of a minority in the film industry. But she also stressed the strength that she gathered from the community: "I belong to a community that is women." And finally, she encouraged all present to Be a warrior queen!
The organizers, the Dortmund | Cologne International Women's Film Festival and the New York Athena Film Festival – themselves members of the International Women Film Festival Networks (Iwffn) – are now calling for a similar event to be held at the Cannes Film Festival which, over the years, has made a poor name for itself due to the extremely low proportion of women in its selection of films.
A propos the recent L.A. Times article on the scarcity of women directors (0!) up for the 2015 Academy Awards is worth reading here.
Just three of the 23 films at this year's Berlinale Competition were made by women film directors, that's 13%.
Speaking in his opening address at the "Get NetWorked Up" event on 12 February 2015, Dr Ralf Kleindiek, State Secretary at the Federal Ministry for Family Affairs, Senior Citizens, Women and Youth – was not alone in emphasizing how outrageously low that statistic is. About 200 women filmmakers, producers and networkers attended the symposium, a joint venture of the Dortmund | Cologne International Women's Film Festival and the New York Athena Film Festival founded by Indiewire’s own Melissa Silverstein. Amma Asante, maker of the beautiful film “Belle” also spoke. See Women in Hollywood’s interview .
In her welcome speech, Silke J. Räbiger, Director of the Dortmund | Cologne Women's Film Festival, pointed out that commitment to gender equality has been articulated since the 1980s. Currently, the main concern of network members is to learn from one another how to pull together as well as to discuss actual steps as to how the objectives can best be achieved. What the networks, associations and initiatives all have in common, she added, was a strong desire not to stand by and simply watch contracts, money, reputation and careers leave women behind.
Anna Serner , CEO of the Swedish Film Institute, reported on the equality contract introduced in 2012, considered now by many countries to be a model worth emulating. Thanks to the Film Agreement between government, parliament, film producers and television broadcasters, 50% of any film promotion budget must, by the end of 2015, be awarded to women in the fields of direction, screenplay or production. Preliminary results are positive, as the figures testify. However, they also indicate that this development still requires much effort. She also emphasized that any declaration of the will to change must come from the top: "It's essential that the head of organization shows that everyone involved really wants to make this come true."
Women make great films The women film-makers who gave statements for the video “Women Make Great Films” also described their anger and frequent experiences of discrimination. It was film-director Jasmila Žbanić who initiated and prepared the video (designed as a work-in-progress) for the event. In the polemic words of film-director Jennifer Reeder: "I am a film-maker and I have a vagina. This is a big problem for a lot of people in the film industry." The desire for change and a strong community is clearer than ever and there is no doubting the fact that "women make great films."
"Women making film is a radical act". With this quote from film-director Ava DuVernay (“Selma”), the symposium chair Melissa Silverstein (Athena Film Festival / Women and Hollywood) then opened the discussion to the various representatives from international women's film networks.
Writer and film-director Esther Gronenborn, representing Pro Quota Film Direction, was first off. This association, which now consists of more than 250 German women film directors, is committed to the eponymous quota – i.e. to an equal share of film funding. Everyone was shocked by the statistics recently published by The German Federal Association of Film & TV Directors, Ms Gronenborn explained. Yet even though producers, TV managers and film promoters in Germany are all very understanding, they invariably pass responsibility on to each other – in a vicious circle. A media state contract with an equality clause and government support as in Sweden is the stated goal of Pro Quota Film Direction.
Kate Brown from Ewa – European Women Audiovisual Network compared the film business with the Rocky Mountains. While men pave the way with all the appropriate gear, women are equipped with high heels and bags full of stones. So if diversity is to be ensured, policies aimed at true equality between women and men in all positions across the industry are long overdue. Ewa provides such professional development opportunities in the form of workshops and online courses for its members. An even wider reach via networking is currently a main aim.
Film-director Beryl Richards, Vice Chair at Directors UK – an association with over 5,000 film-director members – explained the situation in Britain. There too, there is an alarming gender imbalance in the film and television world, not to mention the stereotyped roles affecting both men and women. Figures supplied by an equality campaign for film and TV revealed that women are represented in the independent sector by only 18 per cent … and then only in the low-budget range.
Tamara Dawit was on hand to represent Film Fatales, a new network for women film directors in the Us. Regular meetings provide contact partners to discuss issues with and/or share information with like-minded people.
Get out of the isolation!
All in all, the feeling of togetherness evinced was also tangible in the subsequent discussions between panel and audience: Together, an awareness of the problem has been created. Together, pressure can be exerted on the pressure on the institutions responsible. "Free the spirits," as Melissa Silverstein aptly put it. New structures in which women find role models are needed, which is precisely what networks such as Film Fatales, Ewa and Pro Quota are all about: women film-makers sharing their knowledge and experience, working together and supporting each other. And last but not least, more women must become active in the crucial institutions.
Let's dream a little
There is perhaps still a lack of confidence in the visions and stories as narrated by women. Stories important enough to be told and reflect a facet of society. Change will only happen if women filmmakers have the chance to get the same financial support as their male colleagues. Change will only happen when those responsible recognize that women's work is lucrative and if the government intervenes with legislation. The goal must be a 50% quota in TV and film. "How crazy is this: a dream to be equal", asked Melissa Silverstein. Which is why it is important that women also be trained in business matters. When vital resources are at stake, "you need 95% business and 5% art in order to succeed", said Tamara Dawit.
Amma Asante was the last speaker. The BAFTA award-winning screenwriter and director (“Belle”) spoke impressively of her career, of the obstacles that she repeatedly came up against as a dark-skinned woman and her fight for the greater visibility of a minority in the film industry. But she also stressed the strength that she gathered from the community: "I belong to a community that is women." And finally, she encouraged all present to Be a warrior queen!
The organizers, the Dortmund | Cologne International Women's Film Festival and the New York Athena Film Festival – themselves members of the International Women Film Festival Networks (Iwffn) – are now calling for a similar event to be held at the Cannes Film Festival which, over the years, has made a poor name for itself due to the extremely low proportion of women in its selection of films.
A propos the recent L.A. Times article on the scarcity of women directors (0!) up for the 2015 Academy Awards is worth reading here.
- 2/26/2015
- by Sydney Levine
- Sydney's Buzz
Angela Grosvenor Cdg is casting for The Secret Life Of Boys, a new series from Foundation TV for Cbbc, plus an interactive website.
The series is filming in the UK with director/producer Beryl Richards (Wizards Vs Aliens, Leonardo), and they are looking for an Australian girl (based in the UK) to play age 12/13, she should have a sunny personality.
Suitable applicants should email agrosvenor@me.com...
The series is filming in the UK with director/producer Beryl Richards (Wizards Vs Aliens, Leonardo), and they are looking for an Australian girl (based in the UK) to play age 12/13, she should have a sunny personality.
Suitable applicants should email agrosvenor@me.com...
- 10/24/2014
- by noreply@blogger.com (ScreenTerrier)
- ScreenTerrier
Directors UK (Duk) is challenging broadcasters and producers to ensure that 30% of all shows are directed by women by 2017, after a major study found significant inequality in key genres, from crime drama to panel shows.
Duk unveiled Who’s Calling The Shots? Women Directors In British Television this week, which analyses a decade’s worth of British TV (2003-2012) and reveals that women are getting increasingly fewer opportunities in drama, entertainment and comedy in particular.
It wants the industry to reflect its own membership, some 27% of whom – 1,418 members – are female. Women directed 22.7% of the total episodes of the 142 returning series studied by Duk, and the results are very mixed.
Setting the threshold
Of those series, 41 have had no female directors at all, including ITV dramas Vera and Monroe; comedies PhoneShop and Mrs Brown’s Boys; and entertainment shows Qi, Celebrity Juice and The Cube.
Just over a third – 53 series – passed Duk’s suggested threshold between 2003 and 2012, and...
Duk unveiled Who’s Calling The Shots? Women Directors In British Television this week, which analyses a decade’s worth of British TV (2003-2012) and reveals that women are getting increasingly fewer opportunities in drama, entertainment and comedy in particular.
It wants the industry to reflect its own membership, some 27% of whom – 1,418 members – are female. Women directed 22.7% of the total episodes of the 142 returning series studied by Duk, and the results are very mixed.
Setting the threshold
Of those series, 41 have had no female directors at all, including ITV dramas Vera and Monroe; comedies PhoneShop and Mrs Brown’s Boys; and entertainment shows Qi, Celebrity Juice and The Cube.
Just over a third – 53 series – passed Duk’s suggested threshold between 2003 and 2012, and...
- 5/9/2014
- ScreenDaily
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